BAFTA Breakthrough 2025: Nathaniel Price

In 2022 I picked up a book called 'Mr Loverman' written by critically acclaimed author Bernadine Evaristo. Set in modern day London, Antiguan-born Barrington ‘Barry’ Walker is faced with the collapse of his decades-long marriage following the discovery of his undisclosed sexuality by his wife. Without giving too much away, it is a story of self-discovery, truth and affirmation. Barry's story was one that stayed with me long after I had closed the back cover of the novel, so nobody was more excited than I was when I learnt that BBC were planning on adapting the novel into an 8-part series. 

Following the series release in 2024, it was praised by critics for its theatrical execution and skillful casting; the series' leading men Lennie James and Ariyon Bakare would go on to win in their categories at the BAFTA TV Awards in 2025.

I was given the opportunity to speak with the screenwriter of Mr Loverman, Nathaniel Price. His earlier credits include Noughts & Crosses (BBC), Tin Star (Sky) and The Outlaws (BBC/Amazon). We spent some time discussing being part of BAFTA’s Breakthrough cohort this year, his experiences with screenwriting for Mr Loverman and other hurdles that he encountered on his journey. 

BAFTA Breakthrough 2025 - Nathaniel Price | Credit: BAFTA

Mary: So firstly, congratulations on being one of BAFTA's Breakthroughs for this year. That's an incredible achievement. I just wanted to know, how did you feel when you got the news, and how has the process been since then?

Nathaniel: I was so happy when I received the news - I was actually about to go on a call. I knew it was gonna be a slightly tough call, so when I saw the email come up and I clicked on it briefly, it lifted my spirits so much.

It's a huge honour and privilege to be included in there, and the process has been great. I mean, we've had a weekend where we did the photo shoot, got to meet some of the cohort… everyone's just been so cool and really welcoming. I'm just really excited about the year ahead, to be honest.

M: As someone who read Mr. Loverman in 2022 and ranked it as one of my top reads of the year, I was so excited when I heard that there was going to be an adaptation of it into a TV series. I think it's a great story to visualise as well. What do you think drew you to that book in particular to adapt?

N: It was the characters first and foremost. I just loved the characters; this family that was just trying to survive, they were living their day to day life, but there was a secret at the heart of the story that had this huge ripple effect on all of their lives. And you had this central character who is really complex and flawed and for all intents and purposes, he thinks he's doing the right thing, but actually, at the same time - he's doing something really terrible.

I just love that complexity and I love the voice of his character. I thought it was a really important story to tell. I hadn't really seen a story like this on TV before, having the opportunity to bring that to life was just too good to pass up, really. 

I did have thoughts about whether I'd be the right person to do it.

…[Barry’s life] It's not my lived experience. I'm not Antiguan, my dad's Jamaican, so there were many questions. It becomes a slippery slope of, “well, who is entitled to tell those stories?”.

I had so many people who would feed into that and we could collaborate together. Then the decision was made to go forward with it, which I'm so happy that I did in the end. I do think it is important to check yourself sometimes and ask those questions.

M: I think as long as a good storyteller has the right or reliable sources, it's just about the intentions and the people that are behind that storyteller as well.

I was also intrigued to learn that one of your earlier credits include Noughts and Crosses, which is another adaptation that I really enjoyed. How was writing for Mr. Loverman compared to Noughts and Crosses? 

N: Noughts and Crosses was fantastic - I really enjoyed that process. It was one of my first TV jobs, one of my first proper episodes. Originally I was down for one episode, and then I ended up doing two episodes and it was great.

There was a lead writer who I was working with and I was very much hired just for those specific episodes, whereas Mr Loverman, I knew that I was going to be the sole writer. That came with a different kind of pressure. I already had in my head how I’d go about doing it, I just had this real excitement.

I think when you're excited to get to work but also, you understand how big and important it is - I think that just really lends itself for you to do some fantastic work. That's how I felt with Mr Loverman. There were some difficult times, but my enthusiasm never wavered with it. I just loved the project so much that I just wanted to do it justice.

The cast of Mr Loverman (L to R) Ariyon Bakare, Tahj Miles, Lennie James, Tamara Lawrence, Sharon D Clarke, Sharlene Whyte

M: Do you feel like there are any common factors or messages that you strive to communicate in the work that you produce when it comes to your screenwriting?

N: Yeah, absolutely. I'm always drawn to stories that deal with identity, usually outsiders and people on the periphery of society in some way. 

I don't know if that's because it relates to my own kind of experience of growing up and  wanting to be a footballer and having that taken away from me, having to reinvent myself, and “who do I then become?”, and “who am I?” sort of thing, to then find myself through writing again. So I'm always drawn to people trying to find themselves, but I love to do that in different genres. I really look for stories that subvert stereotypes and will push the envelope. I don't like the stories of ‘you either have to be really good or you're really bad’, particularly as characters of colour are usually put in those two boxes. So that's why I do look for those stories that are more complicated and more nuanced.

M: So what do you feel has been a pivotal part of your career development to this point?

N: I think working on shows like The Outlaws, working on Tin Star, but particularly Tin Star, [it] was an amazing experience to go off to Calgary and see that huge scale of production and watching what's needed to have a better understanding of the industry.

But then working on The Outlaws with Stephen Merchant, just seeing how he runs a writer's room and how collaborative he is, but also how he’s got very clear vision. It was just such a learning experience for me to see what you can do if you have that vision, you treat people in the right way and you're just really inclusive. 

I loved that whole experience, then obviously Mr Loverman just changed things for me. Having that job gave me a platform and an opportunity that I hadn't quite experienced prior to that before. But it's stepping stones, gradually getting that experience and getting that confidence up that you can handle various aspects of telling a story for a full BBC hour - a long hour to fill!

That's why I think it's really important that we continue to give new writers the opportunity to work on shows and unfortunately shows like Doctors and Holby City have gone, which were the launching pad. So I think it's really vital that we try and keep the opportunity there for new writers and diverse writers.

M: Definitely, I agree with you. What would you say to Nathaniel that was awarded the David Lean scholarship almost 10 years ago, whether it's a piece of motivational advice or something to look out for. Is there anything that you would say to that version of Nathaniel?

N: For me personally, it's not to worry so much - which is easier said than done - but enjoy things a little bit more at the start. I think there was such a pressure that, “you have to make this (screenwriting) work”, because I had given up a well paid job and a career in a different industry to try and make this thing work. On one level, that was really useful to me, to put that pressure on myself and have that drive, but at the same time, there are opportunities or moments that I didn't embrace fully enough because I was still worried about the future. It's so important as humans to appreciate your wins and moments and be in the present. Just to enjoy it more and soak it in and not to wallow in it: but just to take a moment and enjoy it.

Explore the rest of the 2025 BAFTA Breakthrough UK Cohort here

BAFTA Breakthrough UK is supported by Netflix